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█░ Artist : DJ Spooky ░█
█░ Album Title : Optometry ░█
█░ Record Label : Thirsty Ear (THI57121.2) ░█
█░ Genre : Jazz ░█
█░ Rip Date : 07/02/02 ░█
█░ Ripped By : Team CHR ░█
█░ Source : Compact Disc ░█
█░ Encode Bitrate : 192k ░█
█░ Total Size : 101MB ░█
█░ Tracks : 13 ░█
█░ Total Length : 73:57 ░█
█░ ░█
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█░ ░█
█░ 01. Ibid, desmarches, ibid ░█
█░ 02. Reactive Switching Stratigies for the Control of Uninhabited Air ░█
█░ 03. Variation Cybernetique: Rhythmic Pataphysic - (Part I) ░█
█░ 04. Asphalt (Tome II) feat. Carl Hancock Rux ░█
█░ 05. Optometry ░█
█░ 06. Sequentia Absentia (Dialectical Triangulation I) ░█
█░ 07. Rosemary ░█
█░ 08. Dementia Absentia (Dialectical Triangulation II) ░█
█░ 09. Parachutes ░█
█░ 10. Absentia Absentia (Dialectical Triangulation III) ░█
█░ 11. Variation Cybernetique: Rhythmic Pataphysic ░█
█░ 12. Periphique ░█
█░ 13. It's a mad, mad, mad world ░█
█░ ░█
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███▀▀▀▀▀▀▀▀▀▀▀▀▀▀ - RELEASE NOTES - ▀▀▀▀▀▀▀▀▀▀▀▀▀▀███
█░ ░█
█░ "Coming July 9th, Thirsty Ear will be releasing 'Optometry', ░█
█░ the latest album from DJ Spooky. Collaborating With Spooky ░█
█░ is Matthew Shipp, William Parker, Guillermo E Brown and Joe ░█
█░ McPhee (among other special guests), 'Optometry' explores ░█
█░ the uncharted territory of taking living, breathing samples ░█
█░ and injecting them into a digital world. ░█
█░ ░█
█░ Continuing in the spirit of Thirsty Ear's Blue Series, ░█
█░ this record seamlessly brings together one of the masters of ░█
█░ DJ culture with real musicians and the results are ░█
█░ staggering. ░█
█░ ░█
█░ Joining Spooky are Matthew Shipp, William Parker, Joe McPhee ░█
█░ and Guillermo E Brown. These "all stars" of the Blue Series ░█
█░ provide the inspiration to bring ░█
█░ this concept to a new plateau." -Thirstyear.com blip ░█
█░ ░█
█░ - - - ░█
█░ ░█
█░ "Is it live? Or is it a sample? That's one of the core issues ░█
█░ for me on this album. Use your eyes to hear and your ears to ░█
█░ see - check the rhythm reality. Basically, its a new way of ░█
█░ doing something that's been with us as humans for a long time: ░█
█░ creating with found objects. ░█
█░ The rotation gets thick. The constraints get thin. The mix ░█
█░ breaks free of the old associations. New contexts form from ░█
█░ old. The Script gets flipped. The languages evolve and learn ░█
█░ to speak in new forms, new thoughts: the sound of thought ░█
█░ becomes legible again at the edge of the new meanings. ░█
█░ ░█
█░ After all, you have to learn a new language. Think of ░█
█░ Duchamps "roto-reliefs" mixed with Thelonius Monk's "Notes From ░█
█░ Undergound" and flip 'em both through the Dostoyevsky novel ░█
█░ with the same title, and you'll get a drift of what I'm talking ░█
█░ about here. Sound. Invisible. Transient. Patterns in the air. ░█
█░ Think of it as a new way of engaging electronic culture with ░█
█░ what Amiri Baraka called the "changing same." Take the idea ░█
█░ and fold it in on itself. Think of it as laptop jazz, cybernetic ░█
█░ jazz, nu-bop, illbient... a nameless, formless, shapeless concept ░█
█░ given structure by the rhythms, and that's a good start. ░█
█░ Optometry: it's a new way of thinking about something that's in ░█
█░ all of our lives every day: patterns, codes, ciphers... whatever ░█
█░ angle you look at it from, it's all about speaking with the ░█
█░ invisible and letting the conversation become total media, ░█
█░ total text. ░█
█░ ░█
█░ When I put this mix together I used the elements my fellow ░█
█░ musicians had created, and added my own. I played bass, kalimba, ░█
█░ various software, and of course, turntables, to create the final ░█
█░ mix. The end result: optometry. ░█
█░ Gesamkunstwerk or "total art" becomes source code for the ░█
█░ context. The soundtrack floats away and leaves the film altogether ░█
█░ Sound and image divorce and re-configure before they re-unite in ░█
█░ the mix. Please think of that when you listen to "Optometry." ░█
█░ The wheels turn, the times change, and the music evolves. But at ░█
█░ the end of the day, its all about the changing same the core of ░█
█░ repetition at modern thought that Duke Ellington liked to put as a ░█
█░ question: "who is playing in the shadow of whom?" ░█
█░ ░█
█░ It's the 21st century. Afro-Eurasian eclipse meets nu-bop in ░█
█░ the streets of the remixed city. A list of ancestors: Bud Powell, ░█
█░ Fats Waller, Duke Ellington, The New York Art Ensemble, Erik Satie, ░█
█░ Morton Feldman....the litany is long, and could go on forever. ░█
█░ But that's kind of the point. The samples and fragments speak the ░█
█░ unspoken, the ascent remains unbroken. Nu-bop, nu-forms, nu-soundz: ░█
█░ flip the script, open the equation, check the situation. Guy Debord ░█
█░ used to call this style "detournement" - it was all about situations ░█
█░ then, and its like that now, only a little more entrenched. ░█
█░ ░█
█░ Is it live? Or is it a sample? ░█
█░ ░█
█░ After almost three decades of rhythm science, the question remains ░█
█░ just as powerful as ever. The Uncanny remains with us. Charlie ░█
█░ Parker and Charlie Patton played notes from an underground that ░█
█░ was about content rather than context. I like to think of "Optometry" ░█
█░ as a way of seeing where they were coming from, and well, all I can ░█
█░ say is listen for all of the new forms you see coming out of your ░█
█░ stereo when you press "play." Enjoy!" ░█
█░ -- Paul D. Miller a.k.a. DJ Spooky that Subliminal Kid ░█
█░ ░█
█░ - - - ░█
█░ ░█
█░ This is some really keen music, a further branching out for the ░█
█░ already eclectic DJ Spooky. Some tracks are definitely more of the ░█
█░ "old style" Spooky (Parachutes especially), but mostly in various ░█
█░ styles of jazz. Truly a great album. Enjoy, from Team Chromance! ░█
█░ ░█
█░ Matthew Shipp : Piano ░█
█░ William Parker : Bass ░█
█░ Joe McPhee : Tenor Sax, Trumpet ░█
█░ Guillermo E. Brown : Drums ░█
█░ DJ Spooky : Laptop, Kalimba, Turntables, Upright Bass ░█
█░ ░█
█░ URLs >> ░█
█░ >> www.thirstyear.com >> fine jazz label's site ░█
█░ >> www.djspooky.com >> Spooky's own site, sweet design ░█
█░ ░█
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